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Friday Full-Length: Pilgrim, Misery Wizard

Posted in Bootleg Theater on May 14th, 2021 by JJ Koczan

There can be no doubt youth was a factor on Pilgrim‘s side when they made their debut with 2012’s Misery Wizard. Their first long-player was released in January of that year through Metal Blade following a just a demo and a 2011 split with fellow New Englanders Ice Dragon, and from the opening strains of “Astaroth” across the album’s willfully cumbersome 55-minute span, it was pure doom traditionalism with the kind of refresh that only a new generation could provide. Pilgrim — then the trio of guitarist/vocalist Jon “The Wizard” Rossi, bassist Eric “Count Elric the Soothsayer” Dietrich and drummer Nick “Krolg, Slayer of Men” Nosach — were kids and they looked like kids, but with Rossi‘s skullet and mournful voice, the band’s downcast image, depressive tonality, slow-rolling tempos and spacious mix, they tapped into the spirit of earliest The Gates of Slumber in their “true doom” sensibility. Misery Wizard was both the altar of worship and the paean itself when it came to doom for doomers by doomers.

So much of what you need to know is in the slowdown at the end of “Astaroth.” At six and a half minutes, the opener is among the shortest tracks on Misery Wizard — only the brazen, galloping penultimate cut, “Adventurer,” is shorter at 4:29 — and it’s a slog already by the time they’re five minutes in, but as the procession continues toward its inevitable conclusion, the trio bring it slower, slower, and slower until finally it crashes out. It’s not that they were the first doom band ever to stick a slowdown at the finish of a given track, but Pilgrim execute that moment with rare grace from one measure to the next, so that it happens gradually, not in jumps, and lets itself go into the fading feedback ahead of Misery Wizard‘s 10-minute title-track as if it’s opening a gate to the record itself. And, of course, it is.

“Misery Wizard” leads even further down into the D&D-pit-of-despair that Pilgrim craft atmospherically — so much fog and lurk and rolling-of-ones to be had — and arrives as the first of three more extended tracks that comprise the meat of the album, along with “Quest” (9:52) and “Masters of the Sky.” By the time it’s done, “Misery Wizard” is righteously torturous, and “Quest” at first continues the thread, but picks up the tempo shortly before the halfway point, feeling like something of a lifeline thrown to the listener making their way through the dense humidity of the record as a whole, and though it doesn’t last but for a few minutes and the song ends with the album’s loudest ring of feedback, that stretch serves its purpose well. I’ll take “Masters of the Sky” as the highlight of the album, Rossi‘s voice reaching desperately upward through the mix in the early going, layered in the second half and more forward, but still morose and placed well in the raw crash that surrounds ahead of another noisy finish.

Given its speedier shift, there’s really nowhere else to stick “Adventurer” but ahead of 12-minute closer “Forsaken Man.” It never gets quite to High on Fire-level brash, but it’s not far off, and in a different pilgrim misery wizardcontext — and a much smoother production — that main riff wouldn’t have been out of place on a record by The Sword. In Pilgrim‘s hands, the groove is fervent but the tailspin is more dangerous, and the cymbal wash and noise that consumes the better part of the last 40 seconds feels earned in a ringing-out kind of fuckall topped with more feedback.

And speaking of feedback — have I mentioned feedback? — the launch of “Forsaken Man” is like slamming headfirst into a wall of it before the band enact their lurchiest of lurches. The culmination of Misery Wizard hits into another level of grueling, cracking itself open after seven minutes to obscure gurgling, chanting or whatever it is before surging back somewhat to its zombified post-Saint Vitus march, which caps of course in suitably miserable fashion and yet more feedback. Pilgrim having established the method and unfurled their aural punishment at will throughout, it’s only fair they should underscore the point in the album’s final seconds. You wouldn’t call it brutal in the death metal sense, but it’s far from friendly.

I was lucky enough to see Pilgrim three times during this era. The first time was at a show in Brooklyn with Windhand and Magic Circle (review here) and the second time was Stoner Hands of Doom XII in Connecticut (review here), where they were slotted among the headliners and indeed pulled one of the weekend’s best crowds as I recall, and the third time was again in Brooklyn (review here). For such sonically downtrodden fare, the excited vibe around their set at the latter venue was palpable. People were into it. The hype was real and justified. They seemed like a band ready to hit the road, and they were, and they did, touring with Windhand, Heavy TempleAge of Taurus and Spirit Caravan, among others during their time.

A follow-up to Misery Wizard arrived in March 2014’s II: Void Worship (review here), which found Rossi all the more stepped into his role as frontman as the band tightened their songwriting and explored new reaches of melody that they would seem to have discovered on tour. They’d been to Roadburn 2013 (review here) by then and were no longer kids getting their feet under them as a touring band or playing to genre so much as looking to make their mark on it. One recalls their video for “The Paladin” (posted here) as being particularly emblematic of their aesthetic and putting Rossi at the fore.

His death on Oct. 26, 2017, was the end of the band. By then, Pilgrim was him, Dietrich and Brad “Bradoc the Thunderer” Richardson on drums, and though he was only 26 years old, he’d already had significant impact on the doom underground and an influence on how the up and coming generation of riffers interacted with what had come before them. In my experience with him, he was a shy but friendly enough guy. His loss was deeply felt.

And that’s a sad note to end on, but I can’t help think of the potential Pilgrim had for a longer-term progression that never got to play out. Nine years after their debut, who knows what they might’ve accomplished by this time. Maybe nothing else. Maybe they would’ve broken up — their long tour with Spirit Caravan was a big disillusion moment for them, as well as a fiscal drain — or maybe their third album would’ve been their best yet. We’ll never get to know. What’s important to keep in mind with that is that not knowing doesn’t undercut the value or achievement that was either Misery Wizard or the sophomore outing, and that just because the potential didn’t have the chance to be fulfilled doesn’t mean it wasn’t there in the first place.

This was a good band.

As always, I hope you enjoy. Thanks for reading.

Another week.

This week I got to live one of my true parenting nightmares: poop in the bathtub. I’ve been in charge of The Pecan’s bathtime since before he could sit up. Three and a half years and counting, bathtime has been my purview. He’s always hated the bath, even though he’s got toys galore that live in the tub, bubblebath, the whole nine. He doesn’t want water in his face and I do my best to see that he doesn’t get it.

Because he’s so miserable going in his diaper at this point and yet terrified of the toilet because he’s not already completely mastered using it — or, in fact, using it at all — he holds in his poop. For, like, two days before he can’t anymore. That moment came yesterday while he was taking a bath. He was duly horrified. I had to dig through bubbles to find poop nuggets, staying calm and saying it was okay, it was an accident, accidents happen, and all that. I’d always dreaded poop in the tub. I guess it says something about the mundane horrors of parenting that by the time it actually happened, all that shit wasn’t shit, as it were.

Our next door neighbors have a newborn. You can see the drawn look in their faces. I think the guy’s a cop? I don’t know. We’re wave-to-each-other cordial. Every now and again The Patient Mrs. has a conversation. We went out when they brought the kid home. He was squidgy as newborns are. I like that age well enough. They just need you and sleep intermittently. I’ve been thinking about that time — end of 2017 — a lot as a result. I was pretty much dying. I found a picture of myself the other day from a month before he was born. I look sick and I was. Full on bulimic. What’re you gonna do. There’s a big part of me that misses that. The feeling of control. Shrug. Xanax to shut the ol’ brain up.

The weekends are hard lately, no break. I don’t remember what’s up for Monday but I know the week is full. Hang on. Yeah. Yo No Se video premiere Monday. Tuesday Mourn the Light. Wednesday Melissa. Thursday Wytch and Bottomless. Friday I’m gonna review something. Maybe Heavy Temple or Stöner, depending on my mood. Shrug again.

Alright, I think we’re all caught up. New Gimme show today, 5PM, and I still don’t know if I’m posting this before or after the Jack Harlon thing. I think before, because technically in Australia that post will be for Saturday morning? I don’t know. I’ll think about it while I dick around at Wegmans and look at food I’m not gonna let myself eat. It goes like that sometimes.

Thanks for reading. Great and safe weekend. Hydrate. Watch your head. Do what you need to do to get through the day. Go buy some Obelisk shorts from David at MIBK. He’s a great guy.

FRM.

The Obelisk Forum

The Obelisk Radio

The Obelisk merch

 

 

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BREAKING: R.I.P. Jon Rossi of Pilgrim

Posted in Whathaveyou on October 27th, 2017 by JJ Koczan

pilgrim-at-roadburn-2013-Photo-by-JJ-Koczan

Confirmation has yet to surface at this time from either the band or their label, Metal Blade Records, but reports have begun to surface and tributes have begun pouring in marking the passing of guitarist/vocalist Jon Rossi of Providence, Rhode Island-based doom metallers Pilgrim. If true, Rossi’s death on Oct. 26 would follow just a day after his band joined The Obsessed and Cobalt Dusk in their hometown. He was 26 years old.

I’ll repeat that: 26 years old.

Pilgrim’s second and latest full-length, II: Void Worship (review here), was released in 2014 as the follow-up to their massively successful 2012 debut, Misery Wizard (discussed here),pilgrim-at-shod-xii-Photo-by-JJ-Koczan and pushed them to a new level of notoriety. A long tour with the reunited Spirit Caravan followed and reportedly nearly undid the trio on a financial level, but there was still hope that Rossi, who went by the stage name “The Wizard,” bassist Eric Dittrich and drummer Brad Richardson, would reconvene for a third album at some point, if one wasn’t already in the works. As there hasn’t been word from the band on Rossi’s passing, obviously any plans on their part are up in the air.

It goes without saying that the death of someone whose work had such an impact on doom, especially of one so young, is a significant loss, and on behalf of myself and this site, I’d like to send personal condolences to Rossi’s family, friends, bandmates and fans. I still remember seeing Pilgrim take the stage in New London, Connecticut, at Stoner Hands of Doom XII (review here), and though they were about half the age of everyone else playing, they absolutely owned the room.

Clearly a special band, and all the more exciting for the potential they continued to exude and the doomed spirit that was embodied in their songcraft. Rossi was a huge part of that presence, on stage and in the studio. He will be missed.

Once again, no word officially on his passing or the cause of death. As news comes in, this post will be updated with the latest.

Pilgrim, “The Paladin” official video

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Heavy Temple Touring with Pilgrim in March

Posted in Whathaveyou on February 9th, 2017 by JJ Koczan

Kind of an ICYMI here, in the parlance of our times, but good to note either way that next month, Philly’s Heavy Temple will hit the road alongside Rhode Island doomers Pilgrim. The latter seem poised to make something of a comeback this year after nearly grinding themselves into dust in support of their last full-length, 2014’s II: Void Worship (review here), and in joining them, Heavy Temple make their most significant leap into touring life yet. It’s an East Coast run, and they did hit the Midwest last fall, but 10 dates on the road is the longest I’ve seen from them to-date. Doubt it will be the last.

They of course go supporting the 2016/2017 release Chassit (review here), alternately billed as a debut full-length and a second EP (the latter below). I had thought I read of a parting of ways with guitarist Archbishop Barghest, but maybe I’m wrong about that or bassist/vocalist High Priestess Nighthawk and drummer Siren Tempestas are heading out as a duo? I’d be interested to know for sure either way.

To be perfectly honest, half my impulse in posting these dates a couple weeks after they were first announced is in making sure they’re here for future reference. Seems like the kind of thing I’ll want to have to look back on down the line.

From the PR wire:

pilgrim heavy temple tour

Heavy Temple to tour with Pilgrim

Heavy psych/doom band HEAVY TEMPLE released their new EP Chassit on January 27th 2017. The EP was initially available on cassette and digital formats via Tridroid Records and CD is now available via Van Records.

Heavy Temple formed at the end of 2012 with High Priestess Nighthawk on bass and vocals and presently features Siren Tempestas on drums and Archbishop Barghest on guitar.

The band will also be playing some shows with doom heavyweights PILGRIM in March:

TOUR DATES:
March 2nd The Fire, Philadelphia, PA
March 3rd The Broadberry (With Windhand), Richmond, VA
March 4th Pilgrim (With Subrosa) Saint Vitus, Brooklyn, NY
March 4th Heavy Temple (With Toke) TBA, Winston, Salem NC
March 5th Riffhouse Pub,, Chesapeake, VA
March 6th Sidebar, Baltimore, MD
March 7th Meatlocker, Montclair, NJ
March 8th O’Briens, Boston MA
March 9th Mohawk Place, Buffalo, NY
March 10th Bug Jar, Rochester, NY
March 11th Geno’s, Portland, ME
March 12th AS220, Providence, RI

https://www.facebook.com/HeavyTemple/
https://heavytemple.bandcamp.com
https://www.van-records.de/
https://tridroid.bandcamp.com/album/chassit

Heavy Temple, Chassit (2017)

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Maryland Doom Fest 2017: Set Times Announced

Posted in Whathaveyou on November 14th, 2016 by JJ Koczan

So I guess we’re pretty much ready to roll on Maryland Doom Fest 2017, right? We’ve had the lineup announced, we’ve got the schedule now. Might be another couple weeks getting t-shirts together — and hoodies; should’ve gotten a hoodie this year, which admittedly is something that occurs to one way less at the end of June than in mid-November — but then I’d say we’re about good to go. No need to wait until next summer on it. Let’s do this thing.

Maybe that’s just me being excited at the prospect of that Friday night lineup, which seems particularly strong front to back — not to take away from any of the other days, but you know I dig me some Lo-Pan — but either way, if Maryland Doom Fest‘s now-three-year tenure has been marked by anything it’s a lack of bullshit. A fervent get-down-to-business-and-kick-as-doing-it mentality. It’s perhaps the most “Maryland doom” aspect to the whole event. Maryland Doom Fest 2017 is clearly no different. Here we are more than half a year from the event kicking off and I know what time I need to be there on Thursday to watch Spillage start the pre-party. This is information I’m glad to have.

If your calendar isn’t marked yet, you might want to get on that:

maryland-doom-fest-2017-poster

The Maryland Doom Fest 2017

June 23, 2017 – June 25, 2017

Cafe 611
611 N Market St, Frederick, Maryland 21701

ROSTER SLOT TIMES

**PRE FEST PARTY THURS JUNE 22
• Valkyrie 1150 – 1250
• Beastmaker 1055 – 1140
• Pilgrim 1000 – 1045
• Borracho 915 – 950
• Weed Is Weed 830 – 905
• Sweet Heat 745 – 820
• Spillage 700 -735

FRIDAY JUNE 23
• Captain Beyond 1240 – 150
• Lo-Pan 1140 – 1230
• Apostle of Solitude 1050 – 1130
• Earthride 1000 – 1040
• Beelzefuzz 910 – 950
• Wretch 820 – 900
• Demon Eye 735 –810
• Brimstone Coven 650 – 725
• Black Manta 605 – 640
• Sierra 515 – 555

SATURDAY JUNE 24
• The Skull 1245 – 150
• Bang! 1140 – 1235
• Wo Fat 1050 – 1130
• The Well 1000 – 1040
• The Watchers 910 – 950
• Hollow Leg 825 – 900
• Iron Man 740 – 815
• Dark Music Theory 655 – 730
• War Injun 610 – 645
• Thonian Horde 525 – 600
• Witches of God 440 – 515
• Black Tar Prophet 355 – 430
• Conclave 305 – 345

SUNDAY JUNE 25
• Headliner 1140 – 1245
• The Atomic Bitchwax 1045 -1130
• Serpents of Secrecy 955 – 1035
• Lightning Born 905 – 945
• Lifetime Shitlist 815 – 855
• Akris 730 – 805
• Burn Thee Insects 645 – 720
• Faith In Jane 600 – 635
• Cavern 515 – 550
• Old Blood 430 – 505
• Horehound 345 – 420

TICKET SALES START JAN 1st !!

https://www.facebook.com/The-maryland-DOOM-Fest-815331421863100/
https://www.facebook.com/events/1794418777500202/
http://www.themarylanddoomfest.com/

Earthride, Live at Jason McCash Benefit, 2014

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The Obelisk Presents: The Golden Grass, Pilgrim & The Sweet Heat in Providence, RI, Nov. 5, 2016

Posted in The Obelisk Presents on October 4th, 2016 by JJ Koczan

the-golden-grass-dusk

On Saturday, Nov. 5, Brooklyn’s The Golden Grass head north to Providence, Rhode Island. They’ll play a show at Dusk with two of the area’s finest outfits in doomers Pilgrim and heavy rock newcomers Sweet Heat, who formed after the dissolution of Balam, and I couldn’t be more pleased to say The Obelisk will present the show. Three bands, all excellent, each with something of their own to bring. Who the hell wouldn’t want to put a logo on a gig like that?

The Golden Grass head north supporting earlier-2016’s Coming Back Again (review here), their progressive-leaning second album and debut on Listenable Records. Meanwhile, Rhode Island doom forerunners Pilgrim continue their slog back from the abyss. In August, they ran alongside Castle for a handful of shows and continue to reap acclaim for their 2014 sophomore outing, II: Void Worship (review here).

And though The Sweet Heat only recently unveiled their first demo recording, the four-piece arrive with immediate intrigue owing to their past participation in the classically doomed Balam. They’re a brand new band emerging with newfound purpose.

Drummer/vocalist Adam “Adzo” Kriney of The Golden Grass was kind enough to discuss the night a little bit. You’ll find his comments below. He’s right when he says you should show up:

Adzo speaks:

November 5 will be a memorable evening at Dusk. This will be THE GOLDEN GRASS’ triumphant and highly anticipated return after a two-year absence! And we couldn’t be more enthused than to share the stage with two of our favorite local-ish groups, the shimmering doom brilliance of PILGRIM and the throbbing monolith that is SWEET HEAT, who are none other than the newest band featuring four out of five members of BALAM, bringing ever-so-tasty hard rock to the festivities.

Boogie hard straight to your doom everyone! This night gonna be a killer, and anyone who lives within a three-hour radius of this concert had better be there as it’s gonna be one for the records… and everyone gonna get high through the night!

The concert is being graciously presented by The Obelisk.

Amazing eye-popping show poster by the ever-righteous designer Stephen Voland.

Thanks to the bands and venue for allowing The Obelisk to present the show. More info and tickets available from the links below.

The Golden Grass, Coming Back Again (2016)

The Golden Grass on Thee Facebooks

Show event page

Dusk on Thee Facebooks

Dusk website

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Pilgrim Post New Video for “The Paladin”

Posted in Bootleg Theater on December 14th, 2015 by JJ Koczan

pilgrim

It’s been a mostly-quiet year for Rhode Island doomers Pilgrim. The trio toured in March/April alongside Spirit Caravan in support of their righteous 2014 sophomore outing, II: Void Worship (review here), which was released by Metal Blade, but weren’t heard from much since then. If I understand the quote from guitarist/vocalist Jon Rossi below, the band’s newly unveiled video for “The Paladin” would’ve already been in the works by the time they started that extended run, but it’s hard not to read its arrival just before the start of a New Year as some kind of notice that the band are getting ready to return to activity, if not on the let’s-go-on-tour-for-six-weeks-at-a-clip level, then at least some level at all.

That’s speculation, of course. They’ve done local shows in New England since getting back from the road, and maybe they’ve been holed up writing, or maybe after their biggest tour to-date, they needed some time to step back and figure out whether it was worth the invariable fiscal, emotional and energetic drain to purvey riffs across the country night after night, but whatever it is, their material remains worth supporting, so I’m glad to see the video for “The Paladin” come out, however long it might have taken to come together. Helps too that it’s so perfectly over-the-top for the band’s sound. Directed by Jon Schnepp in the style of his work on Metalocalypse, it’s got all the fireball-throwing and demon-beheading one could reasonably ask and then just a little bit more for good measure.

Whatever 2016 might bring for Pilgrim, their work to this point speaks for itself, and the clip for “The Paladin” says volumes in itself. Have at it below, and enjoy:

Pilgrim, “The Paladin” official video

Pilgrim premieres new video for “Paladin”

Rhode Island’s doom metal trio Pilgrim has launched a new video for “Paladin”, taken from their 2014 album II: Void Worship. Directed by Jon Schnepp (Metalocalypse, Upright Citizens Brigade, The Venture Brothers), “Paladin” can be viewed now.

Pilgrim’s Jon “The Wizard” Rossi (guitar and vocals) comments: “We feel so lucky to have gotten to work with Jon Schnepp. He was amazing and fun to work with. We have always been huge Metalocalypse fans so it was a dream come true to add that show’s style and art to our music. It truly is an honor. We shot the video about a year and a half ago, and since then we’ve been waiting eagerly and impatiently to see its release. We are more than happy with the end results and, quite frankly, pretty shocked – it’s really far out.”

Director Jon Schnepp adds: “Making the music video ‘Paladin’ for Pilgrim has been a blast! The band was totally down with me taking a literal D&D visual approach, and letting it get crazy! Rossi and the entire band performed incredibly in dual roles, as the Wizard and the Paladin, with great backgrounds by Sam Shearon, and special effects makeup by Cig Neutron and Rannie Rodil as the Demoness. I’m very excited for the rest of the world to experience ‘Paladin’ by Pilgrim!”

Recorded at Moonlight Mile Recording by Mike Moebius and centered on tales of swords and sorcery, Pilgrim’s II: Void Worship is a frighteningly crushing exercise in pure, sonic doom. Each of its eight tracks ebb and flow into frenzied climaxes, while fading into sweet audio depressions – all molding perfectly crafted rock songs into twisted spires of shadowy doom metal epics. To preview and purchase II: Void Worship, please visit: http://www.metalblade.com/pilgrim

Pilgrim on Thee Facebooks

Pilgrim at Metal Blade

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audiObelisk Transmission 043

Posted in Podcasts on December 23rd, 2014 by JJ Koczan

Click Here to Download

 

Here is the Music Player. You need to installl flash player to show this cool thing!

Since I don’t do theme podcasts or anything, the thoroughly unofficial subtitle of this latest one is “SOME of the Best of 2014.” Truth be told, it’s four hours long and I feel like I barely scratched the surface, so definitely the emphasis should be on “some.” By no means is it meant to be comprehensive, or am I claiming that it’s all the best and the rest sucked or anything like that. But some of the best stuff is here, so, you know, I hope you enjoy.

My intent was to make it three hours long, and then I got there and it just didn’t feel done without another hour’s worth of extended psych jams. That’s an odd habit to have. Could be worse. For what it’s worth, I was thinking of this as a companion for some of the year-end coverage that’s already been posted and is still to come. Some of this was inspired by picks from the Readers Poll, the submissions for which are still open. If you haven’t added your list yet, I’d greatly appreciate it.

And once again, hope you dig it:

First Hour:
YOB, “Nothing to Win” from Clearing the Path to Ascend
Fu Manchu, “Radio Source Sagittarius” from Gigantoid
Radio Moscow, “Death of a Queen” from Magical Dirt
The Golden Grass, “Stuck on a Mountain” from The Golden Grass
Monster Magnet, “No Paradise for Me” from Milking the Stars: A Reimagining of Last Patrol
Pallbearer, “The Ghost I Used to Be” from Foundations of Burden
The Skull, “Sick of it All” from For Those Which are Asleep
Electric Wizard, “Time to Die” from Time to Die
Orange Goblin, “The Devil’s Whip” from Back from the Abyss
Moab, “No Soul” from Billow

Second Hour:
Sleep, “The Clarity” from The Clarity 12”
Mars Red Sky, “Hovering Satellites” from Stranded in Arcadia
Floor, “Rocinante” from Oblation
Slomatics, “And Yet it Moves” from Estron
Conan, “Foehammer” from Blood Eagle
Druglord, “Feast on the Eye” from Enter Venus
Apostle of Solitude, “Die Vicar Die” from Of Woe and Wounds
Pilgrim, “Away from Here” from II: Void Worship
Blood Farmers, “The Road Leads to Nowhere” from Headless Eyes

Third Hour:
Lo-Pan, “Regulus” from Colossus
Elephant Tree, “Vlaakith” from Theia
The Well, “Mortal Bones” from Samsara
Lucifer in the Sky with Diamonds, “Counting Time” from The Shining One
Brant Bjork and the Low Desert Punk Band, “Stokely up Now” from Black Power Flower
Joy, “Driving Me Insane” from Under the Spell of Joy
Greenleaf, “Depth of the Sun” from Trails and Passes
Mothership, “Priestess of the Moon” from Mothership II
Truckfighters, “Get Lifted” from Universe
Mos Generator, “Enter the Fire” from Electric Mountain Majesty
Mammatus, “Brain Drain” from Heady Mental

Fourth Hour:
Øresund Space Collective, “Beardlandia” from Music for Pogonologists
My Brother the Wind, “Garden of Delights” from Once There was a Time When Time and Space were One
The Cosmic Dead, “Fukahyoocastulah” from Split with Mugstar
Montibus Communitas, “The Pilgrim to the Absolute” from The Pilgrim to the Absolute

Total running time: 4:02:57

 

Thank you for listening.

Download audiObelisk Transmission 043

 

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The Obelisk Presents: The Top 30 of 2014

Posted in Features on December 22nd, 2014 by JJ Koczan

the-obelisk-top-30-of-2014

Please note: These are not the results of the Readers Poll, which is ongoing. If you haven’t added your list yet, please do.

This was a hard list to put together. The top three have been set in my mind for probably the last month, but trying to work my way backwards from there was a real challenge — what’s a top 10 record, a top 20 record, a top 30, honorable mentions and all the rest. I’ve never done a full top 30 before, always 20, but the truth is there was just too much this year to not expand.

I’m still juggling numbers even as I put together this post, and I’m sure that by the time I’m done several records will have switched places. That’s always how it seems to go. What I’m confident that I have is a list accurately representing critique and my own habits, both what I gravitated toward in listening throughout the year and what I feel is noteworthy on a critical level. This site has always been a blend of those two impulses. It’s only fair this list should be as well.

Before we dig in, you should note this is full-length albums only. I’ll have a list of short releases (EPs, singles, demos) to come, as well as a special list of debut releases, since it seemed to be a particularly good year for them. And since I’m only one person, I couldn’t hear everything, much as I tried.

Okay. Here we go:

30. Orange Goblin, Back from the Abyss

orange-goblin-back-from-the-abyss

Released by Candlelight Records. Reviewed on Nov. 17.

The kings of London’s heavy scene offered more powerhouse heavy rock with their eighth album and second for Candlelight, and their rabid and ever-growing fanbase ate it up. Back from the Abyss proved yet again that few can attain the kind of vicious force that seems to come so natural to Orange Goblin, and made it clear their domination shows no signs of losing momentum.

 

29. Mos Generator, Electric Mountain Majesty

mos-generator-electric-mountain-majesty

Released by Listenable Records. Reviewed on March 14.

A darker affair from Port Orchard, Washington’s Mos GeneratorElectric Mountain Majesty still found its core in the songwriting led by guitarist/vocalist Tony Reed. They’re a band with some changes on the horizon, and I’ll be interested to hear what hindsight does to these songs. As it was, the hooks and downer vibes may have been in conceptual conflict, but the execution was inarguable.

 

28. Pilgrim, II: Void Worship

pilgrim-ii-void-worship

Released by Metal Blade Records. Reviewed on April 15.

Richer in the listening than 2012’s Misery Wizard debut, Pilgrim‘s II: Void Worship nonetheless held firm to the doomly spirit that’s made the Rhode Island outfit such a sensation these last couple years. Its longer songs, “Master’s Chamber,” “Void Worship” and the emotionally weighted “Away from Here,” were particularly immersive, and they remain a bright spot in doom’s future.

 

27. John Garcia, John Garcia

john-garcia-john-garcia

Released by Napalm Records. Reviewed on July 7.

His long-awaited solo debut, John Garcia‘s John Garcia offered memorable tracks culled from years of songwriting from the former Kyuss, Slo Burn, Unida and Hermano frontman, performed in the classic desert rock style he helped define. I’m not sure it was worth trading a second Vista Chino record for, but it was hard to argue with “The Blvd” and “All These Walls.”

 

26. Swans, To be Kind

swans-to-be-kind

Released by Mute/Young God Records. Reviewed on May 9.

An overwhelming two-disc barrage from a relentless creativity that, more than 30 years on from its first public incarnation, is still to be considered avant garde. I’m not sure planet earth realizes how lucky it is to have Swans running around unleashing all this chaos, but I hope they don’t stop anytime soon. To be Kind was brutal and beautiful in like measure.

 

25. Alunah, Awakening the Forest

alunah awakening the forest

Released by Napalm Records. Reviewed Oct. 14.

I initially made this list without Alunah‘s excellent third album and Napalm Records, but when it came down to it, not having the UK four-piece on here haunted me to the point where I had to come back in and swap them out with somebody else. Just couldn’t live with myself for not giving this record its due, which, to be frank, I’m still not since it should be higher on the list than it is. At least it’s here though, so the mistake is somewhat corrected.

 

24. Greenleaf, Trails and Passes

greenleaf-trails-and-passes

Released by Small Stone Records. Reviewed on April 25.

The follow-up to Greenleaf‘s stellar 2012 outing Nest of Vipers (review here) brought lineup changes and stripped away many of the textural elements of the band’s sound — guest appearances, arrangement flourishes — in order to get back to a classic heavy rock sound and translate better to the stage. With guitarist Tommi Holappa‘s songwriting ever at the core, it would be unfair to call the process anything but a success.

 

23. Earth, Primitive and Deadly

earth-primitive-and-deadly

Released by Southern Lord Recordings. Reviewed on Sept. 9.

Most of the headlines went to the fact that Primitive and Deadly had vocals, where the generally-instrumental Earth had avoided singers for 18 years prior, but even putting aside Mark Lanegan and Rabi Shabeen Qazi, whose performance on “From the Zodiacal Light” was the high point of the record, presented Earth‘s always progressive tensions in a rawer, heavier production, and was a joy for longtime fans.

 

22. Ogre, The Last Neanderthal

ogre-the-last-neanderthal

Released by Minotauro Records. Reviewed on March 10.

Six years and one breakup later, Portland, Maine, doom trio Ogre returned with The Last Neanderthal, neither afraid to revel in Sabbathian traditionalism or rock out a more upbeat cut like opener “Nine Princes in Amber.” For bassist/vocalist Ed Cunningham, guitarist Ross Markonish and drummer Will Broadbent, it was a welcome resurgence of pretense-free heavy riffs and grooves.

 

21. The Wounded Kings, Consolamentum

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Released by Candlelight Records. Reviewed on Jan. 30.

Of course, at the time we didn’t know it would be the final outing from this lineup of UK doomers The Wounded Kings, whose guitarist/founder Steve Mills has now reunited with original vocalist George Birch, but Consolamentum was a hell of a closing statement anyway for this era of the band, showcasing their murky, increasingly progressive style still waiting for wider appreciation.

 

20. Floor, Oblation

floor-oblation

Released by Season of Mist. Reviewed on April 22.

Wasn’t sure where to put Floor‘s reunion offering, Oblation, on this list at first, since I kind of fell off listening to it as the year went on, but I’ve gone back to it over the last couple weeks and it has held up to the revisit, whether it’s songs like the extended “Sign of Aeth” or shorter, catchy pummelers like “Rocinante” or “War Party.” Floor‘s 2002 self-titled holds an untouchable legacy in heavy rock, but I think the years will prove Oblation a worthy successor. Nobody knew what they had with Floor at the time either.

 

19. Druglord, Enter Venus

druglord-enter-venus

Released by STB Records. Reviewed on Feb. 14.

Little on 2011’s Motherfucker Rising (review here) or their 2010 demo (review here) prepared for the kind of assault that Druglord‘s Enter Venus brought to bear. Four stomp-laden slabs of tectonic crash and distortion, vocals buried under and calling up from the amp-bred fog. The Virginian trio were in and out on the 27-minute 12″ release, but had enough heavy for a record twice as long, and the tinges of darkened psychedelia made their songs like a lurking presence just on the edge of consciousness, a threat waiting to be unleashed.

 

18. Ararat, Cabalgata Hacia la Luz

ararat-cabalgata-hacia-la-luz

Released by Oui Oui Records. Reviewed on April 4.

For the sheer variety of Ararat‘s third album in rockers like “Nicotina y Destrucción,” “El Hijo de Ignacio,” the experimentalism of “El Arca” and the piano-driven “Los Viajes” and the acoustic closer “Atalayah,” and the assured, flowing manner in which the Argentina trio pulled it all off, Cabalgata Hacia la Luz should be higher on this list than it is. Part of that might be my frustration at my apparent inability to buy a copy, but don’t let that take away from the quality of the material here, which is wonderfully chaotic, memorable and engaging, rushing in some places and stopping to weep in others.

 

17. Radio Moscow, Magical Dirt

radio-moscow-magical-dirt

Released by Alive Naturalsound. Reviewed on May 29.

You won’t hear me deny that Radio Moscow‘s primary impact is as a live band, but their fifth album, Magical Dirt, managed to bring forth much of their psychedelic blues presence in “Death of a Queen,” “Before it Burns” and “Gypsy Fast Woman,” the blinding rhythmic turns and wah-soaked guitar supremacy of Parker Griggs front and center throughout. Together with bassist Anthony Meier (also Sacri Monti) and drummer Paul Marrone (also Astra and Psicomagia), Radio Moscow are hitting their stride as one of heavy rock’s most powerful power trios. One never knows what to expect, but hopefully they keep going the way they are.

 

16. Apostle of Solitude, Of Woe and Wounds

apostle-of-solitude-of-woe-and-wounds

Released by Cruz del Sur. Reviewed on Nov. 6.

Four years isn’t the longest time I’ve ever waited for a record to come out, but in the case of Indianapolis’ Apostle of Solitude, it felt like an especially long stretch. Their third full-length and first for Cruz del Sur, Of Woe and Wounds followed the anticipation-building Demo 2012 (review here) and a couple splits and brought aboard bassist Dan Dividson and guitarist/vocalist Steve Janiak (also Devil to Pay), who fit well with drummer Corey Webb and guitarist/vocalist Chuck Brown to result in a payoff worthy and indicative of the time that went into its making. Hands down one of the finest acts in American doom.

 

15. Stubb, Cry of the Ocean

stubb-cry-of-the-ocean

Released by Ripple Music. Reviewed on Nov. 24.

Stubb‘s second long-player, also their debut on Ripple, gets a nod for the sense of progression it brought in answering the potential of the trio’s 2012 self-titled debut (review here), guitarist/vocalist Jack Dickinson, bassist Peter Holland and new drummer Tom Fyfe expanding the scope to include more heavy psych influence and soul along with the fuzz riffs and steady rolling while giving no ground in terms of the level of craft at work. Cry of the Ocean has become one of those albums where all I have to do is look at a title, be it “Cry of the Ocean Pt. I” or “Sail Forever” or “Heartbreaker,” and the song is immediately stuck in my head. With these tracks, that’s not at all a complaint.

 

14. Brant Bjork and the Low Desert Punk Band, Black Power Flower

brant-bjork-and-the-low-desert-punk-band-black-power-flower

Released by Napalm Records. Reviewed on Nov. 10.

Brant Bjork has worn many hats, literal and figurative, over the years, whether it’s drummer in Kyuss or Fu Manchu, producer, solo artist or bandleader. With Brant Bjork and the Low Desert Punk Band, he steps once again into the latter role, and with guitarist Bubba DuPree, bassist Dave Dinsmore and drummer Tony Tornay, presents not only on his heaviest record to date, but what could easily begin a sustainable full-band progression that can go just about anywhere his songwriting wants to take it. “Stokely up Now,” “That’s a Fact Jack,” “Controllers Denied” and “Boogie Woogie on Your Brain” made for some of 2014’s best in desert rock, and Black Power Flower was an stellar return for Bjork to his “solo” work.

 

13. Dwellers, Pagan Fruit

dwellers-pagan-fruit

Released by Small Stone. Reviewed on May 22.

An earlier version of this list had Pagan Fruit at a lower number, but I couldn’t live with it not being closer to the top 10. Salt Lake City’s Dwellers pushed deeper into laid back psych and blues on their second album, and in doing so, crafted an atmosphere entirely their own. From “Creature Comfort” down to “Call of the Hollowed Horn,” with triumphs along the way like “Rare Eagle,” “Totem Crawler” (“Ohh, my queen… To whom, I crawl…) and “Son of Raven,” Pagan Fruit became a staple of my 2014, building off their 2012 debut, Good Morning Harakiri (review here), but presenting their stylistic growth with a confidence and poise that can only come from a band who’ve figured out what they want to be doing and how they want to do it. Front to back, Pagan Fruit sounds like an arrival.

 

12. The Golden Grass, The Golden Grass

the-golden-grass-the-golden-grass

Released by Svart Records. Reviewed on March 25.

What made Brooklyn trio The Golden Grass‘ self-titled debut such a special released wasn’t just that it was heavy, or that the tracks were catchy, or that guitarist Michael Rafalowich and drummer Adam Kriney could harmonize over Joe Noval‘s warm-toned basslines. That was all great, don’t get me wrong, but what really stood out about The Golden Grass was its irony-free positivity, the way it was able to capture an upbeat, sunshiny feel without having to smirk about it on the other side of its mouth. It was self-aware, to be sure — knew what it was doing — but the way I see it, consciousness only makes the stylistic choices more impressive. Add to that the nuance they brought to ’70s revivalism, and all that stuff about catchiness and the harmonies, and there just wasn’t a level on which the album didn’t work.

 

11. The Well, Samsara

the-well-samsara

Released by RidingEasy Records. Reviewed on Sept. 22.

My appreciation continues to grow for The Well‘s Samsara, which successfully pulled together influences from garage doom and heavy psychedelia while crafting an identity for the Austin, Texas, three-piece at once raw and melodically accomplished, guitarist Ian Graham and bassist Lisa Alley sharing vocals to classic effect on “Refuge” while otherwise trading off lead position to bolster variety in the material. The high point might’ve been the eight-minute “Eternal Well,” on which GrahamAlley and drummer Jason Sullivvan conjured some of their grooviest demons, but the hooks of “Mortal Bones,” “Trespass” and the attitude-laced “Dragon Snort” were no less engaging. One of many strong releases from their label this year — Slow SeasonThe Picturebooks, etc. — they seemed to come ready to serve notice of a stylistic movement underway.

 

10. Montibus Communitas, The Pilgrim to the Absolute

montibus-communitas-the-pilgrim-to-the-absolute

Released by Beyond Beyond is Beyond. Reviewed on Dec. 4.

Peruvian psych adventurers Montibus Communitas more or less blew my mind when I heard their late-2013 offering, Harvest Times earlier this year, and the narrative, conceptual 2014 release, The Pilgrim to the Absolute, is even more of an achievement in its portrayal of improvised exploration, sonic ritualism and open creativity. The weaving of longer pieces against shorter ones with the various steps along the path as presented in the titles, some journeying, some arriving, some descriptive, almost all accompanied by nature in one form or another, gives The Pilgrim to the Absolute an almost impressionistic quality, so that even as you listen to it, you engage it as much as it carries you along its vibrant, breathtaking progression en route to the closing title-track, which is a destination every bit worthy of the journey. This is the most recently reviewed inclusion on this list, but Montibus Communitas‘ latest readily earns its place in the top 10. It is unique in its surroundings.

 

9. Fu Manchu, Gigantoid

fu-manchu-gigantoid

Released by At the Dojo Records. Reviewed on May 14.

Looking back at the last two Fu Manchu records, 2007’s We Must Obey and 2009’s Signs of Infinite Power, it seemed reasonable to expect the groundbreaking SoCal fuzz foursome to put out another collection of big-sounding riffs in a big-sounding production. Nothing to complain about, but probably not a landmark. By going the other way completely — stripping their buzzed-out riffing down to its punkish core thanks in no small part to recording with Moab‘s Andrew GiacumakisFu Manchu served up a raw reminder both of where they came from and how top notch their songwriting remains. Reissuing their earliest work and being on their own label might’ve had something to do with it, but whatever it was, the 35 minutes of Gigantoid was as efficient a heavy rock outing as one could hope from an already legendary band, whether it was the hook-prone opening salvo of “Dimension Shifter,” “Invaders on My Back,” “Anxiety Reducer” and “Radio Source Sagittarius” or the righteous ending jam “The Last Question.”

 

8. The Skull, For Those Which are Asleep

the-skull-for-those-which-are-asleep

Released by Tee Pee Records. Reviewed on Nov. 5.

Given the origins of The Skull — ex-Trouble members Eric Wagner, Jeff “Oly” Olson and Ron Holzner joining with Lothar Keller and a series of other guitarists, finally Matt Goldsborough, working essentially as a tribute band to their former outfit — I think not only did the quality of the material and performance on For Those Which are Asleep surprise, as well as the classically doomed feel that resonates throughout the album, but the sheer heartfelt nature of songs like “Sick of it All,” “Send Judas Down” and the title-track itself. This wasn’t a cynical attempt to make a go of an already set legacy. It was an expression of appreciation both for what they accomplished as Trouble and a desire to continue that work. The Skull‘s whole thing has been that they’re “more Trouble than Trouble,” and in their lineup that’s been true since they brought Olson on board. For Those Which are Asleep demonstrated that the classic spirit of that band is alive and well, its address has just changed. Moreover, it’s the beginning of a new progression for that spirit, and I hope it continues.

 

7. Blood Farmers, Headless Eyes

blood-farmers-headless-eyes

Self-released on CD, LP on PATAC Records. Reviewed on March 24.

Nineteen years after releasing their self-titled debut, New York’s Blood Farmers contended for 2014’s comeback of the year with their sophomore outing, Headless Eyes — a morose, horror-obsessed six-track collection that on “Night of the Sorcerers” owed as much to Goblin as to Sabbath. The closing cover of David Hess‘ theme from The Last House on the Left, “The Road Leads to Nowhere,” was a late bit of melodic flourish to add depth, but how could the highlight be anything other than the 10-minute title-track itself, with its samples from the 1971 horror flick The Headless Eyes, bassist Eli Brown in a call and response with lyrics comprised of lines directly taken from the movie? That after playing shows the last several years, Blood Farmers managed to get a record out was impressive enough. That Headless Eyes turned out to be the year’s best traditional doom release was an entirely different level of surprise. I wouldn’t hold my breath waiting for their third, but Brown, guitarist David Szulkin and drummer Tad Leger gave plenty to chew on with Blood Farmers‘ second. It was better than would’ve been fair to expect.

 

6. Lo-Pan, Colossus

lo-pan-colossus

Released by Small Stone. Reviewed on Oct. 7.

A lot of what you need to know about Lo-Pan‘s fourth album you learn in the first five seconds of opener “Regulus.” There’s no fancy intro, no time wasted, nothing to take away from the directness of the song itself. Tones are crisp — the verse is already underway — and guitar, bass and drums are laser-focused in their forward movement. Even when vocalist Jeff Martin enters the song, roughly six seconds later, his arrival comes with no indulgence, no pomp. Colossus is easily Lo-Pan‘s most immediate work to date, and throughout, Martin, guitarist Brian Fristoe (since replaced by Adrian Zambrano), bassist Scott Thompson and drummer Jesse Bartz retain that focus no matter where the material takes them, delivering a clinic in how to kick as much ass as possible at any given moment on cuts like “Marathon Man” and “Eastern Seas,” or even bringing in guest vocalist Jason Alexander Byers, who also designed the album cover, for a spot on “Vox.” They had a hard task in following up 2011’s Salvador (review here), but the Columbus, Ohio, unit stood up to the challenge and met it and everyone else head-on.

 

5a. All Them Witches, Lightning at the Door

all-them-witches-lightning-at-the-door

Self-released. Reviewed on Sept. 25.

What to do with All Them Witches‘ Lightning at the Door? The Nashville four-piece released the album last fall digitally, but it wasn’t until this September that it saw a physical manifestation. In fact, if you go back, it was included on the Top 20 of 2013 as well. Which is the release date? I don’t know. What I know is that in terms of the sheer amount of time spent listening, I put on Lightning at the Door more than any other record this year. From where I sit, that alone gets it a place in the top five. Yeah, it might be a cop-out to do a “5a,” but sometimes exceptions have to be made, and All Them Witches have proved to be nothing if not exceptional in their still relatively brief, jam-laden history, the psych-blues dynamic between bassist/vocalist Michael Parks, Jr., guitarist Ben McLeod, Fender Rhodes specialist Allan van Cleave and drummer Robby Staebler pushing them quickly to the fore of American heavy rock’s innovators, their natural, improv-sounding material feeling brazen and exploratory while reshaping the elements of genre to suit their needs. One can only see this dynamic developing further as they continue to grow as a live band, so Lightning at the Door may just be the start, and that’s perhaps most exciting of all.

 

5. Witch Mountain, Mobile of Angels

witch-mountain-mobile-of-angels

Released by Profound Lore. Reviewed on Aug. 20.

A beautiful, stunning work made even more powerful by the honesty driving it. Portland, Oregon’s Witch Mountain completed a trilogy with the Billy Anderson-produced Mobile of Angels that brought about some of the best doom of this young decade, their 2011 return from a years-long hiatus, South of Salem (review here) serving as the foundation for a stylistic progression that continued on the following year’s Cauldron of the Wild (review here) and onto Mobile of Angels itself as the four-piece’s most accomplished album to date. The reason it feels like such a concluding chapter is because of the departure of vocalist Uta Plotkin, whose voice helped establish Witch Mountain both on stage and in the studio, leaving founders Rob Wrong (guitar) and Nathan Carson (drums) with the sizable task of finding a replacement. That situation will be what it will be, but Mobile of Angels remains a gorgeous, lonely testament. Plotkin gives a landmark performance on “Can’t Settle” and “The Shape Truth Takes,” which in the context of what was happening in Witch Mountain at the time ring with a truth that’s rare in or out of doom, and she seems to have left the band just as they were hitting their finest hour. So it goes.

 

4. Conan, Blood Eagle

conan-blood-eagle

Released by Napalm Records. Reviewed on Jan. 22.

In all of heavy, there is no assault so severe as Conan‘s. With their second full-length and debut on Napalm Records, the UK trio solidified the two sides of the preceding 2012 outing, Monnos (review here), in constructing material that, fast or slow, short or long, retained an epic feel melded with their ungodly tonality and memorable songwriting. Their first recording at guitarist/vocalist Jon DavisSkyhammer Studio, it affirmed Conan‘s will to conquer in its two massive bookends, “Crown of Talons” and “Altar of Grief,” and in the High on Fire-worthy gallop of “Foehammer” — a bludgeon commandingly wielded by Davis, bassist/vocalist Phil Coumbe and drummer Paul O’Neil, the latter to of whom have since left the band to be replaced by longtime-producer Chris Fielding and Rich Lewis, respectively. What effect the changes might have on the band — except apparently more touring, which isn’t a bad thing — have yet to be seen, but Conan are already in the process of writing a follow-up to Blood Eagle, so it doesn’t seem like it’ll be all that long until we find out. With Davis still steering the band in songwriting and overall direction, one severely doubts they’ll be fixing what obviously isn’t broken anytime soon. None heavier.

 

3. Wo Fat, The Conjuring

wo-fat-the-conjuring

Released by Small Stone Records. Reviewed on June 18.

Dallas riff-rockers Wo Fat have grown steadily over the course of their five albums, from the nascent heavy roll of 2006’s The Gathering Dark, to the hooks of 2008’s Psychedelonaut (review here), the jamming that started to surface on 2011’s Noche del Chupacabra (review here) and was pushed further on 2012’s The Black Code (review here). And their approach has been as steady as the frequency of their releases. In making The Conjuring, the three-piece were simply engaging the next step in their progression, but the material on the five-track/48-minute outing goes further than just that. Putting aside (momentarily) the 17-minute closer “Dreamwalker,” the other cuts, “The Conjuring,” “Read the Omens,” “Pale Rider from the Ice” and “Beggar’s Bargain” each found a place for themselves in pulling together jammed-sounding elements with a memorable construction, and when guitarist/vocalist Kent Stump, bassist Tim Wilson and drummer Michael Walter did kick into “Dreamwalker,” they hit on not only their longest piece yet, but their most accomplished showcase of the chemistry that has developed between them. That song is a beast unto itself, but as has been the case with Wo Fat each time out so far in their career, there’s nothing on The Conjuring to give the impression the band can’t or won’t continue to keep going on the path that’s worked so well for them on this point. They’ve spent the last eight years on the right track and have yet to waiver. The Conjuring should be played at top volume for anyone who contends there’s no life left in heavy rock and roll.

 

2. Mars Red Sky, Stranded in Arcadia

mars-red-sky-stranded-in-arcadia

Released by Listenable Records. Reviewed on March 11.

Mars Red Sky‘s second LP and first for Listenable, Stranded in Arcadia was originally supposed to be recorded in the California desert, but visa problems kept the French trio of guitarist/vocalist Julien Pras, bassist/vocalist Jimmy Kinast and drummer Matgaz in Brazil, where they’d previously been touring. Thus, “stranded in Arcadia,” which is basically another way of saying “lost in paradise.” Can’t say the Bordeaux three-piece didn’t make the most of it, though. Songs like “The Light Beyond” and “Hovering Satellites” — not to mention the utter melodic bliss of “Join the Race” — took cues from their 2011 self-titled debut (review here) in terms of memorable songwriting and melodic craft, but added to that heft and tonal richness more of a psychedelic vibe, so that not only was there fuzz and wah, but a spacious world in which the songs took place. With Kinast on lead vocals, the sneaky boogie of “Holy Mondays” became a highlight, and the one-two swing ‘n’ stomp of “Circles” and “Seen a Ghost” were a perfect demonstration by the band of the various sides of their sound, particularly following after the dreamy instrumental “Arcadia,” an echoing jam distinguished by Pras‘ wistful guitar lead and coming before the closing “Beyond the Light,” which reprises the opener’s resonant unfolding. It probably wasn’t the record they intended to make, but Stranded in Arcadia became one of my go-to albums for 2014, and like the best of any given year’s output, I’ve no doubt it will transcend the passage of time and continue to deliver for years to come. Hell, I was barely done with the debut when this one came out.

 

1. YOB, Clearing the Path to Ascend

yob-clearing-the-path-to-ascend

Released by Neurot Recordings. Reviewed on Sept. 3.

“It’s time to wake up.”

Can’t imagine this is any great surprise. Not only did Clearing the Path to Ascend — YOB‘s seventh album and first for Neurot — produce my pick for song of the year in its sprawling, emotionally weighted 18-minute closer, “Marrow,” but in the three full-lengths the Eugene, Oregon, trio of drummer Travis Foster, bassist Aaron Rieseberg and guitarist/vocalist Mike Scheidt have released since the latter reformed the band after breaking it up following 2005’s The Unreal Never Lived, all three have been my album of the year. The Great Cessation was in 2009, and Atma was in 2011. Consistency aside, I’ll point out specifically that each of the same three records has earned that position, perhaps Clearing the Path to Ascend most of all for its progressive feel, moving past genre even at its most raging moment, second cut “Nothing to Win,” the chorus of which proved that among everything else YOB could be, they could be anthemic. The cosmic, spiritual questing that has always been present in their songs, that feeling of searching, showed up in opener “In Our Blood,” but even there, it was evident YOB were pushing themselves beyond what they’ve done before, rewriting their own formulas incorporating lessons from their past in among their other points of inspiration. “Unmask the Spectre” could have easily been an album closer itself, with its patient exploration and feverishly intense payoff, but with the melodic progressivism of “Marrow” and the soul poured into every second of that track, every verse and chorus, solo and build — including the Hammond added to the last of them by producer Billy Barnett — YOB created a landmark both for themselves and the increasing many working under their influence. I’ve said on several occasions (bordering on “many” at this point) that YOB are a once-in-a-generation band, and it feels truer in thinking of Clearing the Path to Ascend than it ever has. Without a doubt, album of the year and then some.

 

 

Honorable Mention

First, special note to Colour Haze‘s To the Highest Gods We Know. I’ve decided to count it as a 2015 release since the vinyl will be out in Spring, but otherwise surely it would earn a place on this list. Blackwolfgoat‘s Drone Maintenance also deserves note.

A few other honorable mentions:

MothershipMothership II — It’s hard to argue with a classic heavy rock power trio kicking ass. I won’t try.

Sólstafir, Ótta — They were originally on the list proper but had to be moved to make room for Alunah. I didn’t really get to know this record in 2014 anyway.

Ice DragonSeeds from a Dying Garden — Boston experimental psych/garage doomers continue to defy expectation. May their weirdness last forever and continue to produce material so satisfying.

TruckfightersUniverse — I thought at some point I’d go back to Universe again, but never really did. A problem with me more than the album.

SteakSlab City — An impressive debut following two strong EPs.

GodfleshA World Lit Only by Fire — I never got a review copy, so I never reviewed it. Its name is here because I’m a fan of the band and glad they’re back.

ThouHeathen — Just recently purchased this and am only getting to know it, but a ridiculously strong album.

Corrosion of ConformityIX — Everybody who gets a boner whenever Pepper Keenan is mentioned in connection with this band has missed out. This record and the self-titled kick ass.

SpidergawdSpidergawd — Holy shit they’re over here! No they’re over there! No wait over here again! Oh my god I’ve just gone blind!

Monster MagnetMilking the Stars — I wasn’t sure what to do with this since technically it’s not a new album, mostly reworked songs from the last one. I still listened to it a ton though, whatever it is.

SlomaticsEstron — Another one I’m just getting to know, but am very much digging.

Electric WizardTime to Die — People seem to do this thing where Electric Wizard puts out a record, everyone slathers over it for a few months and then spends the next two years talking about how it sucked. I guess I’ll be on the ground floor with not having been that into Time to Die.

PallbearerFoundations of Burden — Had to put their name somewhere on this list or someone would burn my house down. Album of the year for many.

The list goes on: Monolord, Comet Control, Mammatus, Triptykon, Eyehategod, Fever Dog, Moab, Karma to Burn, Atavismo, Grifter, 1000mods, Megaton Leviathan, Wovenhand, Mr. Peter Hayden, Primordial, and many more.

Before I check out and go sit in a corner somewhere to try and rebuild brain power after this massive dump of a purge, I want to sincerely thank you for reading. If you check in regularly, or if you’ve never been to the site before, if you don’t give a crap about lists or if you’re gonna go listen to even one band on here, it’s fantastic to me. Thank you so much for all the support this site receives, for your comments, for sharing links, retweeting, whatever it is. I am a real person — I’m sitting on my couch at this very moment — and being able to do this and have people see it and be a part of it with me is unbelievable. I realize how fortunate I am. So thank you. Thank you.

Thank you.

More to come as we close out 2014. I’ll have a list of short/split/demo releases, a year-end podcast, a list of the best debuts, a round up of the best live shows I saw, as much more as time allows. Please stay tuned.

And again, thank you. If I left anyone off the list, I hope you’ll let me know in the comments and contribute your own top albums, however many there are, to the Readers Poll.

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